CXI
Wiesbaden, Duchy of Nassau, June 20, 1855.
From Ratisbon, I went to the famous Walhalla Temple, occupying the summit of a rocky cliff upon the banks of the Danube, about two hours’ ride from that city, composed entirely of marble, stone, and metal, and of which I must attempt a feeble description.
It seems that the artist ex-king, Ludwig, as early as 1807, when crown-prince, and while Germany was bowed down under French despotism, conceived the design of erecting a monument to the memory of the meritorious sons of the Fatherland. As early as 1821, German sculptors had already prepared a portion of the busts, when the preparatory ground-work was commenced, and on the anniversary-day of the battle of Leipsic, 18th of October, 1830, Ludwig, then king, laid the foundation-stone, and which he opened complete in 1842; the cost of which is reported, but probably incorrect, as I notice an article in a public journal, saying that during his reign forty millions of guilders, say seventeen millions of dollars, were expended in the fine arts, and constructing and beautifying churches, palaces, and temples. A considerable portion is represented as out of his private purse.
The majestic Walhalla stands three hundred feet above the water level, and the ascent is effected by double flights of broad marble steps, three hundred and fifty in number, uniting upon wide platforms, and then recommencing in like manner until the height is reached, giving a magnificent view of the river and surrounding country, as also a front view of the edifice. The terrace wall is built of many-cornered cyclopean blocks of stone, and from the second division corresponds with the underground foundation of the building, nearly one hundred feet in depth. The length of the wall from this platform, from north to south, is four hundred and eighty-three feet, and width two hundred and eighty-eight feet. The temple, bearing some resemblance to the ancient Parthenon at Athens, is two hundred and thirty feet in length, one hundred and eighteen feet in width, and sixty-four feet in height. It has seventeen marble columns on each side, and eight each, front and rear, thirty-one feet high, and six feet in diameter.
The gable pediments contain the splendid marble sculpture work of Schwanthaler, each group comprising fifteen figures. The one at the north occupied that artist eight years. The colossal form of the national hero, Herman, ten feet high, forms the centre of the group in the final struggle with the Romans, whose leader has struck his sword in his own breast to avoid the sight of the overthrow of his legions. From the time of Roman and Greek antiquity, perhaps, so large a gable-group has not been seen, being seventy-two feet in length. The inside is one hundred and sixty-eight feet by forty-eight, and fifty-three feet to the roof, and may be considered a rare gem. The floor is of polished white, yellow, and black marble mosaic; one draws on felt overshoes to slip and slide over the surface. The roof is of gilded bronze plates, with three plate-glass windows to admit the light, the crossbeams of sky blue, and stars of gold, with full-sized figures of gods and heroes. The various polished marble sides contain tablets and busts of one hundred and sixty of the most renowned and distinguished Germans. The different divisions are protected by six figures of Victory, in white Carrara marble; these female forms, with extended wings, are the work of the celebrated Rauch, at Berlin. The bas-reliefs, executed in Rome, of the same material, extend entirely around the hall, two hundred and ninety-two feet in length, in eight divisions, and mark the history of the German race, settlement of the country, conquests, arts, religion, knowledge, &c.
From Ratisbon, twelve hours by mail coach brings one to the old city of Nuremburg, the most antique in Germany. Its former population, ninety thousand, now counts fifty-two thousand; it is surrounded by a wall forty feet high, upon which are seventy-two towers and bastions; the four towers of the principal gates are built in the form of cannons. Its cathedral and churches are remarkable for their old illuminated glass windows, woodcarving of the altars, and life of Christ, by the renowned artists Veit, Stoss, and Adam Kraft; also paintings from the original school of Albert Durer and his master, as early as 1485. A remarkable old cemetery contains the tombs of the artists named. The venerable château, erected in the tenth century, recently fitted up for the royal family, who are soon expected, is worth a visit, not only for the view, but its contents. In the courtyard is a large linden tree, seven hundred years old. The city hall, built in the sixteenth century, is a fine structure, and contains remarkable stucco-work of that period, and paintings of Albert Durer, particularly the triumphal procession of the Emperor Maximilian I. The bridges over the stream which runs through the city, the fountains, monuments, and style of architecture of the old town, generally interest travellers. Nine hours by rail transports one, via Bamburg and Würzburg, through an interesting and varied country, to the free city of Frankfort-upon-the-Main. Being on my way to this favorite resort for a rest, and the use of the waters, I tarried but little on the Rhine, and as these points are as familiar as old acquaintances, nothing strikes one as new. Wiesbaden I find on each repeated visit much improved; the usual concourse of guests is from fifteen thousand to twenty thousand annually; its position on the slope of the Taunus hills, gives it the beautiful valleys that surround it, and the advantage of healthful and recreating excursions to the mountains.
I shall remain here a few days longer, then make my way to Paris, for the Exhibition, after which I may conclude to take steamer to my own Vaterland.